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"Alan Moore outdoes himself... Extraordinary ... a poetic celebration of the powers of the imagination." - Kurt Loder, MTV A powerful story about loss of freedom and individuality, V FOR VENDETTA takes place in a totalitarian England following a devastating war that changed the face of the planet. In a world without political freedom, personal freedom and precious little faith in anything, comes a mysterious man in a white porcelain mask who fights political oppressors through terrorism and seemingly absurd acts in this gripping tale of the blurred lines between ideological good and evil.

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REMEMBER, REMEMBER THE FIFTH OF NOVEMBER Imagine a Britain stripped of democracy: a world of the not-too-distant future, in which freedom was not lost, but surrendered willingly to a totalitarian regime that rose to power by exploiting the people's worst fears and most damning weaknesses. This is the setting for the parable of Evey, a young woman who is saved from death by a masked man calling himself only V. Beguiling and dangerous, V ignites the fuse of revolution when he urges his fellow citizens to wake up and shed the blanket of tyranny and oppression in which they have permitted themselves to be cloaked. While those in power take steps to neutralize the threat, the police pursue the mystery of V, unaware of the terrible truth that awaits them at the end of the trail. It is Evey, however, who, with V as her enigmatic guide, sets out on the most painful path of all: a journey of deception and self-discovery, deconstruction and re-creation, vindication and vengeance.

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The 2005 James McTeigue and Wachowski Brothers film V for Vendetta represents a postmodern pastiche, a collection of fragments pasted together from the original Moore and Lloyd graphic novel of the same name, along with numerous allusions to literature, history, cinema, music, art, politics, and medicine. Paralleling the graphic novel, the film simultaneously reflects a range of authorial contributions and influences. This work examines in detail the intersecting texts of V for Vendetta. Subjects include the alternative dimensions of the cinematic narrative, represented in the film's conspicuous placement of the painting The Lady of Shalott in V's home; the film's overt allusions to the AIDS panic of the 1980s; and the ways in which antecedent narratives such as Terry Gilliam's Brazil, Huxley's Brave New World, and Bradbury's Fahrenheit 451 represent shadow texts frequently crossing through the overall V for Vendetta narrative.

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Quicklets: Learn more. Read less. V for Vendetta first graced the pages of the British comics anthology series, Warrior, in its flagship issue in 1981. The series continued there until 1985 when Warrior ceased publication. Left in limbo for three years, the series was eventually picked up again in 1988 by DC Comics, one of the world's largest comic book companies, where the story was completed. Artist David Lloyd provides the art for the majority of the series, though artist Tony Weare contributed to a few issues. Originally in black and white, DC reprinted the original pages in watercolors, and continued to do so until the series came to fruition. One of Alan Moore's first attempts to pen a continuing series, V for Vendetta helped put Moore's name on the map. Moore wrote the series as a response to Thatcherism, the form of conservative government in power in the England at the time of the story's creation. The title's popularity lead to Moore becoming more prominent across the pond, which opened the doors for other British comic writers to find new popularity in North America, such as the likes of Grant Morrison and Neil Gaiman, among others, all titans of the industry in their own right. Today, the book enjoys a great deal of popularity and critical praise, especially in the wake of the 2006 film adaptation starring Hugo Weaving and Natalie Portman, which has earned over $132 million. It has also gone on to have a deeper significance, with protesters donning the Guy Fawkes mask popularized by the title character, especially in the Occupy Wall Street movement.

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High Quality Content by WIKIPEDIA articles! V for Vendetta is a 2005 dystopian thriller film directed by James McTeigue and produced by Joel Silver and the Wachowski brothers, who also wrote the screenplay. It is an adaptation of the V for Vendetta comic book by Alan Moore and David Lloyd. Set in London in a near-future dystopian society, Natalie Portman stars as Evey, a working-class girl who must determine if her hero has become the very menace he is fighting against. Hugo Weaving plays V-a bold, charismatic freedom fighter driven to exact revenge on those who disfigured him. Stephen Rea portrays the detective leading a desperate quest to capture V before he ignites a revolution.

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The essays in this volume provide rich fodder for reflection on topics that are of urgent interest to all thinking people. Each one suggests new ways to contemplate our own role(s) in the production and promotion of evil. The authors encourage the reader to be challenged, outraged, and disturbed by what you read here. The eighth gathering of Global Perspectives on Evil and Human Wickedness, which took place in Salzburg in March 2007, provided a look at evil past, present, and future, from a broad spectrum of disciplinary perspectives. Papers were presented on the Holocaust, genocide, violence, sadism, pædophilia, physical, verbal, and visual weapons of mass destruction, and on the effects of a variety of media on our apperception of and responses to evil. One of the overarching themes that emerged was the ethical role of the observer or witness to evil, the sense that all of our writings are, in an echo of Thomas Merton's salient phrase, the conjectures of guilty bystanders. The notion of complicity was examined from a number of angles, and imbued the gathering with a sense of urgency: that our common goal was to engender change by raising awareness of the countless and ubiquitous ways in which evil can be actively or passively carried on and promoted. The papers selected for this volume provide a representative sample of the lively, provocative, and often disturbing discussions that took place over the course of that conference. This volume also contains a few papers from a sister conference, Cultures of Violence, which was held in Oxford in 2004. These papers have been included here because of their striking relevance to the themes that emerged in the Evil conference of 2007. At the Interface/Probing the Boundaries seeks to encourage and promote cutting edge interdisciplinary and multi-disciplinary projects and inquiry. By bringing people together from differing contexts, disciplines, professions, and vocations, the aim is to engage in conversations that are innovative, imaginative, and creatively interactive. Inter-Disciplinary dialogue enables people to go beyond the boundaries of what they usually encounter and share in perspectives that are new, challenging, and richly rewarding. This kind of dialogue often illuminates one's own area of work, is suggestive of new possibilities for development, and creates exciting horizons for future conversations with persons from a wide variety of national and international settings. By sharing cross-disciplinary insights and perspectives, ATI/PTB publications are designed to be both exploratory examinations of particular areas and issues, and rigorous inquiries into specific subjects. Books in the series are enabling resources which will encourage sustained and creative dialogue, and become the future resource for further inquiries and research.